My work has spanned a diverse range of materials, style, technique, and content. I am continually drawn to new challenges and opportunities to experiment. The impetus of many of my sculpture designs involves a combination of geometric forms and plant or animal forms. There is a slightly uneasy fit between the two which can be surprising, and exciting. The sense of order within geometric forms contrasts with the malleability and transience of living forms.
As a sculpture takes form, there is a moment in the process when the design begins to transcend the materials. A sense of flexibility, movement, or softness inhabits an assembly of metal or wood. Something in the graceful curves, or the proportions and relationships between parts, suggests the presence of a living force. As I work the rigid material, one part of my brain becomes enticed by the illusion created in another part of my brain. I love those moments. This is when I know the sculpture is beginning to work.
Throughout my career, I have enjoyed creating visually-enticing, abstract works, but I have also felt compelled to explore social, psychological, and political issues through my sculptures. The former approach comes fairly easily to me; the latter can be like pulling teeth. Creating meaningful work, without falling into a depressive cloud of doom, or a sappy, sentimental expression of positivity is challenging. Generally, I would like for my work to be uplifting or enlightening in some sense. The world doesn’t particularly need more doom. Part of the reason that creating public art is so appealing to me is that a visually-enticing, abstract sculpture can take on social significance beyond decoration. It can offer a small uplifting moment to anyone who pauses to explore it.